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Tim Rayborn

Shakespeare's Ear

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Shakespeare’s Ear presents dark and sometimes funny pieces of fact and folklore that bedevil the mostly unknown history of theater. All manner of skullduggery, from revenge to murder, from affairs to persecution, proves that the drama off-stage was just as intense as any portrayed on it. The stories include those of:
An ancient Greek writer of tragedies who dies when an eagle drops a tortoise on his head.
A sixteenth-century English playwright who lives a double life as a spy and perishes horribly, stabbed above the eye.
A small Parisian theater where grisly horrors unfold on stage.
The gold earring that Shakespeare wears in the Chandos portrait, and its connections to bohemians and pirates of the time.
Journey back to see theatrical shenanigans from the ancient Near East, explore the violent plays of ancient Greece and Rome, revel in the Elizabethan and Jacobean golden age of blood-thirsty drama, delight in the zany and subversive antics of the Commedia dell’arte, and tremble at ghostly incursions into playhouses. Here you will find many fine examples of playwrights, actors, and audiences alike being horrible to each other over the centuries.
Dit boek is momenteel niet beschikbaar
351 afgedrukte pagina’s
Oorspronkelijke uitgave
2017
Jaar van uitgave
2017
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Citaten

  • cattybuciteerde uit7 jaar geleden
    Another surprise is how much goes on behind the scenes—in fact, the skulduggery offstage has frequently been greater than that onstage.
  • cattybuciteerde uit7 jaar geleden
    But why? What could possibly be appealing about watching a dozen actors pretend to fight a huge war in a Shakespeare play, when you could see a CGI effects fest with a budget of $200 million exploding all over the gigantic movie screen in bloody 3-D? The thing is, countless people still prefer (or at least still go to see) the former on a regular basis. There is something highly appealing about any live performance, as music aficionados will readily tell you. You just can’t beat that live sound, and for many, the thrill of seeing living actors on a stage doing what they do best can’t be duplicated on a big or a small screen. There is an immediacy, a danger, and a sense of connection that only a play can provide.
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